British designer Desmond Heeley (1931–2016) was renowned on both sides of the Atlantic for his imaginative designs in theatre, opera and ballet. He created a number of designs for the Royal Opera House companies, working with choreographers Kenneth MacMillan and John Cranko and with opera director John Copley. Heeley’s designs for Covent Garden, and elsewhere, always created a vivid impression, grand and colourful yet, when necessary, intimate and personal.

Heeley’s first credit with the Royal Opera House was for Sadler’s Wells Theatre Ballet (later Birmingham Royal Ballet), working on MacMillan’s Solitaire in 1956. Heeley had originally created the set designs for Cranko’s The Angels, but when the ballet was delayed Ninette de Valois insisted the designs be used in Solitaire – much influencing MacMillan’s concept of the ballet. MacMillan subtitled Solitaire ‘A kind of game for one’ and Heeley’s designs reflect and enhance the ballet’s light-hearted tone.

Later that year Heeley made his debut with Sadler’s Wells Ballet (later The Royal Ballet) on a major world premiere, creating costume designs for Cranko’s The Prince of the Pagodas, with an original score by Benjamin Britten. Artist and regular Britten-collaborator John Piper designed the sets. The production was last seen at Covent Garden in 1960.

Heeley’s further credits at Covent Garden were on two productions for The Royal Opera with Copley. In 1974 Heeley designed sets and costumes for a new production of Gounod’s Faust, with a wonderful cast including Stuart Burrows, Norman Treigle and Kiri Te Kanawa. Heeley conceived the production on a grand scale, with Te Kanawa singing the Jewel Song in a leafy, tree-lined glade, while the Soldiers’ Chorus saw magnificent banners swirling around the stage. The production remained in the repertory until 1986, with future casts including Mirella Freni and Alfredo Kraus.

Heeley returned to The Royal Opera in 1977 to design sets and costumes for Copley’s new production of Donizetti’s Maria Stuarda, with Joan Sutherland in the title role, Huguette Tourangeau as Elisabetta and Burrows as Leicester. Heeley provided fine Tudor gowns with ruffs and designs that captured the very essence of this bel canto drama.

The tenor Alberto Remedios (1935–2016) was one of the most distinguished Heldentenors of the post-war years. He performed regularly with English National Opera and The Royal Opera.

Remedios was coached at Covent Garden for many years by Reginald Goodall, who recognized Remedios’s natural lyrical voice and its immense musical stamina. Remedios made a memorable debut with Covent Garden Opera Company in 1965 singing Grigory in Boris Godunov, opposite a formidable Boris Christoff in the title role. He made his ROH Wagner debut the following year, singing Erik in the first revival of Clifford Williams’s production of Der fliegende Holländer. Colin Davis conducted that revival and would become a regular collaborator with Remedios.

In 1968 Remedios sang Mark in Ande Anderson’s new production of Michael Tippett’s The Midsummer Marriage under Davis, delivering the role with stylish panache. Other cast members included Joan Carlyle and Stuart Burrows, and Remedios returned with them and much of the same cast in a 1970 revival. In 1971 Remedios sang Froh in a revival of Hans Hotter’s production of Das Rheingold, and the following year reprised the role of Erik in a prestigious revival of Der fliegende Holländer under Hans Schmidt-Isserstedt, with Catarina Ligendza as Senta.

Remedios next returned to The Royal Opera on a number of occasions towards the end of the decade, singing Bacchus in the 1978 revival of Ariadne auf Naxos under Bernhard Klee and giving a particularly robust performance as the First Man in Armour in August Everding’s 1979 production of Die Zauberflöte under Davis. As the 1980s dawned he sang a vibrant Siegfried in a revival of Götz Friedrich’s production of Der Ring des Nibelungen conducted by Davis, with Donald McIntyre as the Wanderer and Berit Lindholm as Brünnhilde.

In 1982 Remedios starred as Max in a revival of Friedrich’s production of Der Freischütz, conducted by Davis with a stellar cast including McIntyre as Caspar and Helena Döse as Agathe. He returned that year to reprise Siegfried in the Ring cycle, conducted again by Davis, with Gwyneth Jones as Brünnhilde. Remedios’s voice remained strong and those final Siegfrieds were as bold and audacious as the first: one critic wrote, ‘He has in his voice an extraordinarily touching quality that makes Siegfried seem both the more human and the more heroic in his achievements.’

Remedios’s final appearances with The Royal Opera were in revivals of Die Zauberflöte in 1983 and 1991.

Do you have any memories of seeing Alberto Remedios perform at the Royal Opera House?

The soprano Elsie Morison (1924–2016) was a leading soprano in the early days of the Covent Garden Opera Company, later The Royal Opera. She came to London from Australia after World War II and concentrated throughout her distinguished career on such roles as Susanna (Le nozze di Figaro), Mařenka (The Bartered Bride) and Pamina (Die Zauberflöte).

Morison made her debut with CGOC in 1954, in the Rex Whistler-designed Fidelio singing Marzelline under conductor Clemens Krauss. Later that year Morison sang Antonia in Günther Rennert’s new production of The Tales of Hoffmann under Edward Downes, and in 1955 was a thrilling Mimì in La bohème under Reginald Goodall.

Morison followed this with wonderful performances as Mařenka in a new production of The Bartered Bride under Rafael Kubelík, the newly appointed Musical Director of CGOC – and Morison’s future husband. Her winning the role had not been easy: Morison’s original audition had not gone well, and David Webster, General Manager of Covent Garden, pushed for her to be heard again. He flew Morison to Amsterdam where Kubelík auditioned her in the Concertgebouw. Kubelík was enchanted and immediately sent a telegram to Sir David with the news that ‘We have our Mařenka’.

David Drew (1938–2015) brought a lively intensity and wit to all the character roles he danced with The Royal Ballet, expertly driving forward the drama. In his diverse roles he demonstrated a deep understanding both of character and of the art form, and was a magnificent partner of numerous ballerinas.

Drew choreographed several ballets (the first, Intrusion, was performed by The Royal Ballet in 1969 with Jiří Kylián in the cast) and wrote the scenario for Northern Ballet’s The Three Musketeers in 2006. He taught pas de deux at The Royal Ballet School and contributed to its popular choreographic course led by Norman Morrice. Another of his long-standing projects was to revive Robert Helpmann’s wartime classic Miracle in the Gorbals, produced by Birmingham Royal Ballet in 2014.

The Royal Ballet has paid the following tribute:

‘David Drew was a linchpin of The Royal Ballet over many decades and was a true Company member with every fibre of his being. His tireless and unceasing energy and talents extended far beyond the many fine roles he danced and created as a Principal and Character Artist. His passions were many and varied, always pursued with relentless energy and an unshakeable integrity.

‘Among his many causes he was a great champion of working conditions for dancers. He was instrumental in setting up the Dancers’ Pension Fund and also the group that became the precursor to Dance UK. His keen interest in and involvement with the re-development of the Royal Opera House contributed much to the rehearsal facilities now to be enjoyed by the current and future generations of Royal Ballet dancers. Many famous names of the dance world passed through his pas de deux lessons at The Royal Ballet School. His work with Norman Morrice on the School’s choreography course and his subsequent encouragement of so many young choreographers both within and outside The Royal Ballet organization helped fledgling, many now firmly established, creative artists. And there was, of course, his personal, fervently pursued passion, his choreography and latterly his work on new ballet scenarios and re-creations and restagings of ballets from the past.

‘All who knew “Drew” as a personal friend and colleague will feel his loss keenly. He was a larger than life character, an extremely talented, passionate, huge hearted, generous, loveable, devoted and loving man, all characteristics that permeated both his artistic and personal life. He achieved much for the dance world and its inhabitants.’

Kevin O’Hare, Director of The Royal Ballet, dedicated the performance of Romeo and Juliet on Saturday 17 October to David Drew. ‘All of us at The Royal Ballet will be forever grateful for everything David did for us and it will not be forgotten’, said Kevin. ‘He will be missed.’

We have received the following message from the Moser family: ‘Claus Moser died peacefully, aged 92, on the morning of 4 September following a stroke a week earlier. He was in Switzerland where he was on holiday in one of his most loved places with his wife Mary, family and friends. During his short illness he was looked after with exceptional and loving care by the staff at the Kantonsspital, Chur.’

Claus Moser became Chairman of the Royal Opera House in 1974, aged 52. He took over from Lord Drogheda, a long-standing holder of the post. Moser had come to Britain from Berlin in his youth and was a talented pianist, who studied under Louis Kentner. During the war he served with the Royal Air Force, and subsequently forged a distinguished career as a civil servant, an academic and in the City. These qualities were invaluable throughout his time at Covent Garden, as in the 1980s when the ROH faced many demands to widen its audience and curb costs. Moser dealt with both the authorities in Whitehall and the media in a deft and authoritative manner, his always-courteous remarks delivered with a winning smile.

Moser was a gracious host at many royal galas, especially at the Silver Jubilee Gala in 1977 when the entire Royal Family attended a performance starring Nureyev and Fonteyn. Moser attended performances regularly and was approachable to staff both Front of House and back stage. In 1986 Paul and Helen Hamlyn worked with Moser to inaugurate the Paul Hamlyn Performances, which provided a first experience of ballet and opera at a minimal cost.

Apart from navigating many financial challenges, Moser had to oversee many internal political troubles, including union unrest and cancelled performances. He chaired the panel that sought a successor to General Director of the Royal Opera House, John Tooley. The appointment of Jeremy Isaacs was confirmed in 1987.

Moser retired as chairman in 1987 and a tribute performance of Le nozze di Figaro was given in his honour.

Simon Robey, current Chairman of the Royal Opera House, said, ‘Claus was a legendary figure, and a legendary Chairman, of the ROH. He was the first person I sought out for advice when I became Chairman. I continued to look to him, and look up to him, with admiration, respect and great affection. Somehow he managed to combine deep knowledge, huge wisdom and a great sense of fun. He loved the ROH and we loved him. I will miss him greatly.’

‘Jon Vickers was one of the operatic giants of the 20th century’, says Director of Opera Kasper Holten. ‘He has given operatic audiences — both at ROH and around the world — truly unforgettable moments, some of which are fortunately recorded for future generations to enjoy. To learn of his death has made a profound impression on all of us at ROH, and we all think of him and the loved ones he left behind.

‘As no title in our current repertory is amongst Jon Vickers’ most celebrated achievements, we have decided to dedicate the last performance of the season, Verdi's last masterpiece Falstaff on Saturday 18 July, to his memory. An opera by Verdi — and his last one — seems a fitting tribute to a singer who made an everlasting impression in the same composer's Otello.’

Born in 1926, the tenor was one of the first stars to emerge from the Covent Garden Opera Company in the 1950s. His powerful voice and commanding stage presence made him unforgettable in Wagner and Verdi roles, and as Peter Grimes in Elijah Moshinsky’s influential 1975 production.

Vickers was unquestionably one of the great Heldentenors of the post-war era. But such was his vocal versatility that he was also renowned in such diverse roles as Samson (both Handel’s and Saint-Säens’), Aeneas in Berlioz’s Les Troyens, Florestan in Beethoven’s Fidelio and as Jason in Cherubini’s Medea, starring opposite Maria Callas in 1959.

Vickers’s performance of the title role in the famous Visconti production of Don Carlo in 1958 is part of Royal Opera history – no less so his performances as Radames, Otello, Tristan and Siegmund. Vickers also toured extensively with The Royal Opera and celebrated 25 years with the company in 1982.

To all his roles Vickers brought a unique sense of musical phrasing, always individual and exciting. On stage he was a passionate performer, and introduced an extra physical dimension to such roles as Florestan and Peter Grimes.

John Tooley recalls how ‘Jon, a singer of extraordinary intensity and commitment, used his large voice to thrilling as well as deeply moving dramatic and musical ends, but only on roles of his considered choice. He was profoundly moved by his faith and this in turn governed what he undertook.

‘Jon was never slow to tell conductors, producers and managers what he thought of them. After the outburst good sense usually prevailed, compromise was reached and the production benefited. Jon gave many wonderful performances, which will live long in the memory.’

Derek Rencher (1932–2014) first studied at the Royal College of Art, before joining the Sadler's Wells Ballet (later The Royal Ballet) in 1952. He was promoted to Soloist in 1957 and to Principal in 1969. He later became a Guest Principal Character Artist, and danced his last Season with the Company in 1997–8. In his long tenure with The Royal Ballet he won acclaim particularly for his powerful stage presence.

He created his first role for Frederick Ashton in 1961, dancing Demaphoön opposite Svetlana Beriosova as the title role in Persephone. Further role creations for Ashton included Edward Elgar in Enigma Variations (1968), also opposite Beriosova as The Lady, and Rakitin in A Month in the Country (1976) with Lynne Seymour. He created the role of Death in Ashton’s gala work The Walk to the Paradise Gardens (1972), and created the costume designs for Ashton’s gala pas de deuxLament of the Waves (1970).

In 1965 he created the role of Paris in MacMillan’s Romeo and Juliet. He went on to create the role of Monsieur G.M. in Manon (1974) and strongly influenced the depiction of a figure who, in Rencher’s words, would ‘buy someone and discard them without a scruple’. Other roles for MacMillan included a diffident Tsar Nicholas II in the three-act version of Anastasia (1971), Prince Philipp in Mayerling (1978) and Isadora’s lover Paris Singer in Isadora (1981).

He was an imposing presence as Von Rothbart in Swan Lake, as Kostcheï in The Firebird and as the High Brahmin in La Bayadère. Other significant roles in his later career included a Step-Sister in Cinderella, Mrs Pettitoes in Tales of Beatrix Potter and the title role in Anthony Dowell’s production of Don Quixote (1993).

Carlo Bergonzi (1924–2014) was one of the great lyric tenors. He brought to his performances an ease of vocal phrasing, exceptionally clear diction and a breathtakingly smooth legato. He was pre-eminent interpreter of Verdi roles, a fact reflected in his many roles at the Royal Opera House.

Bergonzi made his next Covent Garden appearance in 1978, singing in Il trovatore with Arroyo and Franco Bordoni under Downes. In 1981 he marked the 30th anniversary of his stage debut as a tenor singing Nemorino in L'elisir d'amore. Later that year he sang Rodolfo in a revival of Filippo Sanjust's production of Luisa Miller, with Katia Ricciarelli under Pinchas Steinberg.

Bergonzi's made his final Royal Opera appearance in 1985, singing Edgardo opposite Joan Sutherland in her final performances in the title role of Lucia di Lammermoor. Their performances were highly acclaimed, and on the final performance the cast were showered with bouquets, which they either threw back to the audience or into the pit. Speaking a few months later, Bergonzi recalled 'At Covent Garden I had the great satisfaction, at my age, of having an optimal success.'

Two years later in 1984, Ghiuselev returned to The Royal Opera to give an outstanding performance of the title role of Boris Godunov, in Andrei Tarkovsky's acclaimed 1983 production. One critic wrote how Ghiuselev captured the 'turmoil of the character and has an imposing, powerful, resonant, fascinatingly beautiful voice.'

Gailene Stock (1946–2014) was Director of The Royal Ballet School 1999–2014. During her tenure Stock oversaw major developments within the School that not only affirmed its position as one of the world's top centres of dance education but also realized the vision of The Royal Ballet's founder, Dame Ninette de Valois, that School and Company should go hand-in-hand.

Stock was born in Ballarat in Victoria, Australia, and started dancing at the age of four. Her desire to dance was beset by early tragedies: she contracted polio aged eight and spent 18 months in an iron frame; and aged 14 was seriously injured in a car accident when a cement lorry hit her father's car.

Stock was given a year's leave of absence 1963–4 to take up her RAD scholarship at The Royal Ballet School, at the end of which she was invited to join The Royal Ballet. She chose instead to return to Australian Ballet and went on to dance with the company around the world. Stock also appeared frequently on television, perhaps most notably in Rudolf Nureyev's film of Don Quixote.

In 1979 Stock was appointed Director of the National Theatre Ballet School in Victoria, and went on to work as a teacher, director and administrator for companies and schools around Australia, New Zealand and Canada. She was made a Member of the Order of Australia in 1997 and in 1998 became the first Australian representative on the Executive and Artistic Committees of the Royal Academy of Dance in London.

In 1999 she took over from Merle Park as Director of The Royal Ballet School. Her many developments to the curriculum included placing a greater emphasis on contemporary dance and pas de deux, introducing a third year into the Upper School to allow students to manage their studies with overseas auditions, furthering the School's touring opportunities, expanding the choreographic course and re-introducing a teachers’ course for professional dancers and a teacher exchange programme.

During Stock's tenure the School underwent major structural developments, including the transferral of the Upper School from Baron's Court to Covent Garden in 2003, a £22m redevelopment of the Lower School at White Lodge in Richmond Park, completed in 2009, and the building of new accommodation for Upper School students in 2010.

Under Stock's leadership, the employment of graduates rose from 48% on her arrival to between 95% and 100%, a number which has been sustained for the last seven years. She was an inspirational figure at the School and will be much missed.